The simultaneity between the delicate architecture of the circus numbers, stuffed full of reflections of philosophical encouragement, and the reality of the actresses and actors in a dressing room with a large window and an open door to the circus arena, provides, on the one hand, a relativization regarding the allegorical figures and the reflections thrown, and on the other frees us from a single focal point.

Distance is generated by the use of accessories in the characterization... a distance necessary for us to breathe and think in an emancipated way, without pressure or psychological and emotional manipulation. Nevertheless, at the same time, the proximity promoted by the direct gaze, the subtlety and the exquisiteness with which the onstage action is developed, the tact with which objects and bodies are manipulated and the deeply humanistic attitudes in the execution of the game are all amply present."

Afonso Becerra, Artezblai

EL PAÍS

As in all of Matarile’s productions, there is no linear narrative but rather different elements are combined or superimposed. Dancers and actors: dance moments with parliaments and installations made on the spot. It is not a story told, but rather emotions being suggested. In this case the old circus aesthetic is absorbed: the fascination with risk, the astonishment produced by the trained fleas’ numbers, the attraction to the monstrous as a sure way out of the routine. We are all trained fleas. "